Composite karate kata

In the blended system of martial arts I teach, I still use patterns (forms), but i use them primarily as 'catalogs' of independent techniques. So for instance, we have a form that contains strikes, and a form that contains blocks. The student's job (and a great part of drill and class time) is spent on taking motions OUT of the forms and connecting and applying them in sensible combinations and scenarios.
That being said, I have a 20-year karate background, and one thing I have noted in my human experiements with students is that there ARE certain fundamental body motions that are very WELL communicated by inherited forms. For instance, snapping the hip into punches, or turning the body into a knife block. As just one example, if I show an applied knife hand to a beginning student, predictably, I often get them 'just putting up the hand', i.e. without the associated body committment. So, of course I have to isolate and show that aspect. Which means, basically, I have to teach them a knife block. Partly I have realized that this is because there are just certain ways in which I now move which I sometimes take for granted, esp. with regard to subtle details of weight shifts and the like. That's not to say I see what i am doing as 'not working', on the contrary. I just see another area where it might be further enhanced.
I no longer have much real interest in teaching the 23 or so inherited forms I learned. However, in respoinse to some of these issues, I HAVE been considering making a 'composite' basic or kihon form that draws on selected motions from my karate practice which I believe remian useful in application. Or perhaps I might say 'whcih illustrates the mechanics I find to be MOST useful".
My 'issue' with forms practice has never been so much with the method as it has beecome the perceived 'disassociation' between illsutrated form and applied technique.

I'm curious to know if anyone has any thoughts or comments on that (Caveat: I am hoping this threaad will stay OUT of the areas of "How valuable forms really are" and "it's not karate without forms", etc. What I am interested in is teh reaction to the proposition I have set up, i.e. whether people see the connection I percceive to be underlying 'fundamental' combative mechanics, and if so, which motions specifically, would be those I might be commended to select.

"no style is without kata in one way or another"
You have my full agreement on that point. The question however, is: if one was composting ONE karate form from say, ten or more, whcih motions would you pick and why...? (Especially understanding that the foci of this drill would specifically be on inducing 'basic' body mechanics in the trainee and NOT on complex combination-type responses to specifc attacks).

Introduce them in segments that bolt on to the next section, then begin the process of repeating them in simple combinations that give the strategy you wish to work with- ie body shift, punch, block kick - etc.

It will get long but the segmented approach will mean its easy enough if you only work with say 3 of each 'thing' i.e not all the possible ways to punch, kick, block, body shift etc.

You mentioned having familiarity with 23 kata, so I assume you perform some naha-based kata as well as shuri-based ones, so hopefully this resognates. A rising (floating) motion followed by a dropping (sinking) motion such as is found with the double rising block followed by the double hammer fist (or backfist depending on the version) in bassai dai. A strong simultaneous forward/backward movement like the double elbows in seiunchin. And the pivot on the base foot while executing a low line side kick or blade-edge kick like in san seiryu. And I might add any two handed motion where each hand is performing very different movements.

Thanks for all replies, tod at. Nezumi, that is closest to what I am after really, as it starts to get at the mechanics that are underlying the movement, i.e. the rapid transition fro Neko ashi to zen kutsu dachi is an example of what I consider to eb a 'fundamental' mechanic of karate. Likewise, the action of R-L-R.. i.e. you almost never 'double up' on karate motions R-R-L... everything is two handed and thw torquing motion that is developed proceeds FROM that two handed action: The back, hips and legs are all 'activated' in support of that. That is the stuff that I am finding I have to isolate-- the body shifting and weight committments that are embedded by inherited kata practice. I appreciate the need to inlcude them, but the 'tactical' stuff I (i.e. a mixed inclusion of blocks, strikes etc.) have covered. I am lookiing more at the 'elelmental' mechanical motions that 'make'
karate 'karate'.
These are the ones I have thought of so far: Rising to sinking or 'body dropping', kicking to punching transitions, 'penetrating' attack to 'sudden defense' (i.e. Zen to neko weight movement and vice verse), two handed push-pull or "pulley" (McCarthy) type action, all offensive mechanics 'to' centerline, defensive mechanics generally 'to' outside body edge, 'lowering' the hara to 'stance level' and staying there (that is a big one I think kata practice teaches, my beginners all generally stand WAY too tall), kiai (unifying breath and strike); striking 'through' the visualized target, etc.
Many of these (i.e. the last) are common to 'all' martial arts. They can all be developed through 'other' methods, as well. But, what I am saying is, I think I'm kind of revising my thinking that solo kata practice *does* communicate certain 'fundamental' body actions in a more effciient way than I have recently given it credit for. At least, I see a single kata that communicates these concepts might offer an efficient starter training method for new students. More of a 'kihon' than a full fledged form maybe?

Context is everything when you are looking at movements, so whichever techniques you choose you will need to consider how you move into them and what that implies about the uses of that technique. The techniques in isolation show much less than they do when moving.

In recent months I have begun teaching my own Kata as a regular light warmup and warm down exercise. These are simply some of our drills put together in an order and priority similar to the syllabus but with a number of extra tips and principles tucked inside. I've done this because in training we can dot around the syllabus, depending on who is present, so a simple exercise like this helps ensure that if the student wants to drill at home they are less likely to miss things I consider to be important. It's not completely necessary because the student can just open the syllabus, but it does allow me to observe a student's biomechanics away from the pads and partners.

I filmed the first form earlier this week. We're not trying to adhere to the same timings, but I put both of us in so it could be observed from two angles. I've actually made the video for two students out of training at the moment.

In recent months I have begun teaching my own Kata as a regular light warmup and warm down exercise. These are simply some of our drills put together in an order and priority similar to the syllabus but with a number of extra tips and principles tucked inside. I've done this because in training we can dot around the syllabus, depending on who is present, so a simple exercise like this helps ensure that if the student wants to drill at home they are less likely to miss things I consider to be important. It's not completely necessary because the student can just open the syllabus, but it does allow me to observe a student's biomechanics away from the pads and partners.

I filmed the first form earlier this week. We're not trying to adhere to the same timings, but I put both of us in so it could be observed from two angles. I've actually made the video for two students out of training at the moment.

There's quite a lot that's core to what I teach on display in thare. Our basic de-escalation template guard, our biomechanics (the shin/spine alignment quite visible), six drills with nods towards variations and the foundations of other drills plus a few other things I stress. I do have one of the applications discussed here:

Sorry, been away for a couple days...
@John, that's exactly teh direction I have taken my 'forms' practice: Real, deployable combinations that emphasize specific combative applications. Ironically or not, our 'core' offensive tactics pattern also starts finger jab palm heel using a boxer's / thai boxer's stance. :-) Nice work and presentation.
@ Dave, yes that is kind of the nature of my original question and the direction I am headed with THIS specific project. Here's the motions that I have articulated, with the emphasis that, again, this is specifically intended to be a vehicle that conveys core body mechancial motions, and NOT combative applications specifically. Hope this comes across in print...
1. Step back (left neko ashi dachi), chudan shuto uke
2. Step forward (neko), chuan shuto uke
3. Off-line 45 left (neko), chudan uke, transition to Zenkutsu dachi + gyaku tsuki.
4. Off-lin center, (neko) soto uchi uke, transition to Zenkutsu dachi + gyaku tsuki.
5. Off line 45 right, (neko) gedan barai uke, transition to Zenkutsu dachi + gyaku tsuki.
6. Step forward (right) (original centerline, ZKD), jodan age uke
7. Step forward (left)(ZKD), jodan age uke
8. Step forward (right ZKD), Oi tsuki. Kiai. [No really, I think that unification of breath, motion and spirit is a core element that can and should be drawn from karate:-)]
9. 270 degree turn (to left leg up sagiashi dachi), immediate transition to left ZKD + gedan barai uke, followed by immediate transition BACK to neko and left 'hammerfist block' (e.g. Pinan NIdan), followed by step oi tsuki
10. 180 degree turn (to right leg up sagiashi dachi), immediate transition to right ZKD, jodan age uke, folllowed by immediate transition to neko and gedan barai uke, followed by step oi tsuki
11. 90 degree turn to gedan barai uke (kiba-dachi) followed by a step forward scissoring arm break (ala the version of Jion I know), also in kiba dachi.
At this point, you have completed the top of a 'T' as with any typical H or T pattern and are back on the original centerline. Then,
12. Step forward left leg mawashi geri (Low-line)
13. Spin ushiro geri (right foot)
14. Rear leg Mae Geri (left foot)
15. Rear leg Yoko geri (right foot)
16. 180 turn into left foot forward neko with chudan kamae-te.
Then, as of right now, I would repeat the whole from the second knife hand block (effectively completing all reps on both sides o fthe body) but I am still mulling that over... if I ever get it where I think it's 'done', I will try to post a clip.)
In other words, while there is no 'fighting application' per se, (other than elementary 'block, punch, and kick') at this point, I think that I have a good series that encompasses a lot of 'essential arm mobility patterns', weight transference from defense to offense, and back; the 'elemental' blocks, kicks, and punches, the core hip and shoulder mechanics, the hikite, etc.
The inclusion of the crane stances was a point of consideration. But, like tree pose in Yoga, I think these lend a certain 'beginners introduction to balance preservation', from a purely NON-COMBATIVE standpoint. i.e. like tree pose, the stance's inclusion here is intended to help people 'tune in' to the little nuances of maintaining balance on one foot, purely to get them 'dialed in' to their body, and not for any 'real' combative purpose. And, the hand positioning I use is such that it basically could be 'interpreted' as a deashi barai from judo. So in that aspect, I WAS also thinking 'application', at least in terms of the isolated units, and no different than the 'basic application' of block, punch and kick.
That's where I'm at at present.